Mail-order and distribution of experimental music (electroacoustic, improvised music, sound-art), past or present, along with some books, magazines and DVDs.
27, rue du Général de Gaulle
33310 Lormont, FRANCE
Email: info [at] metamkine.com
Phone: (+33) 0 984 507 143
This DVD is made up of five films. “Entropie” (2002) with Emmanuelle Huynh. Music by Siegfried Canto. “Kajsa” (2003) with Kajsa Sandström, Ula Sickle (P.A.R.T.S. Anne Teresa De Keersmaeker). Music by Stephan Dunkelman. “Kyoto” (2006) with Berry (Élise Potier). Music by Hervé Birolini. “Absence” (2007) with Pierre Terzian. Music by Hubert Michel. “Mémoire d’eau” (2009) with le CCN – Ballet de Lorraine et Christophe Béranger. Music by Hubert Michel.#“My work questions organized chaos, order slipping towards inevitable disorder. This disorder is amplified as its progresses in the same direction as time itself. Time, irreversible, accelerating the degradation and irreparable loss of information, bringing all living creatures towards unavoidable death. Everything is debased, rust gnaws at our very core, age creeps up on us, fire peters out, time leaves us behind. Entropy means that everything must come to an end; it is a duration unto itself; it is the time we have left. The universe, like us, will come to an end; its expansion is not slowing down, but speeding up. “Something has got to give” and this atmosphere of waiting for an “ominous disaster” is at the heart of this work. For example, when glass shatters in my films, I am describing destruction which prolongs a process that was triggered several billions of years ago. Glass shatters and will never put itself back together as it is following the natural movement of order towards disorder which appeared with the Big bang, when the arrow of time was set in motion. Space closes in In this collection, made up of five films, I have tried to create simple, efficient and visual narratives#because I wish to free myself from dramatic constraints. I wanted to transcend reality by starting with the ordinary in order to reach for the extraordinary. Today, in an era where tangible matter has claimed precedence over the rest because of its obvious, quantifiable and therefore oh-so reassuring efficiency, I aim to call upon the invisible. I wish to evoke what could never be written yet exists, bursting with meaning. These films are whole worlds that enclose their protagonists and where each gesture seems to resist the minimalist architecture of the interiors and the oppressive sensation created by the sturdy blocks of the#exterior components, where the characters’ flailing restlessness seems to act as a front for emptiness. Living bodies resist entropy In my films, the body is the outer vessel we use to protect ourselves, where we lose ourselves, where we#reveal our true colors, a husk that often betrays us but which never lies. It often claims center stage, naked, fragile, tense, alive and expressive – body rather than speech. The body is a source of silent word and of invaluable meaning. It offers us the possibility to approach reality through feeling, to observe the invisible web of connections it weaves with its environment. My work seems especially suited to this desire to communicate beyond what is spoken, to replace our words with a complex universe of sound to express myself differently.” Jérome César Thomas.#Jérôme Thomas is a French artist born in Nancy in 1973. He works with drawings, photography, film, video installation and sculpture. The guiding line that connects these different creative environments is a necessary component of their very artistic nature. Beyond their differences, the works of Jérôme Thomas do in fact rely upon the exploration of pressure points, points where people or objects lose their countenance, come apart, crack open and shatter. His works are perceptive devices and installations that create spatial environments of projection. They bring together multiple levels of reality and fabrication, amplifying the language of objects and ordinary situations.